Basic Instinct
by drawingqueen
Summary: I've decided to do a just slight twist to the movie "Basic Instinct" written by Joe Eszterhas. I've made Jethro Gibbs take the place of Michael Douglas' character in the film, also Jennifer Shepard takes the place of Sharon Stones character as well. (If only sexy Mark Harmon was in the movie! *Sighs) * I don't own anything! Enjoy! :)
1. Chapter 1

I've decided to do a just slight twist to the movie Basic Instinct _**written by Joe Eszterhas**_. I've made Jethro Gibbs take the place of Michael Douglas' character in the film, also Jennifer Shepard takes the place of Sharon Stones character as well. (If only sexy Mark Harmon was in the movie! _Sighs_)  
>Remember: I don't own anything. Give credit to Joe Eszterhas. Im just putting a slight NCIS touch to it.<br>_*Written in form of a movie script._ I've added more descriptive detail when needed.  
>Enjoy the read! Many Chapters more to come!<p>

**BASIC INSTINCT**

_**A BEDROOM AT NIGHT:**_

It is dark; we don't see clearly. A man and woman make love on a brass bed. There are mirrors on the walls and ceiling. On a side table, atop a small mirror, lines of cocaine. A tape deck plays the Stones "Sympathy for the Devil."

Atop him, she straddles his chest, her breasts in his face. She leans down, kisses him. She inserts two fingers in his mouth, he sucks on them briefly. She continues rocking her hips against him.

The man, Johnny Boz is in his late 40's, slim, good-looking. We don't see the woman's face. She has long Auburn hair. She leans over his face, moves her hands up and holds both of his arms above his head. She moves higher atop him... she reaches to the side of the bed... a white silk scarf is in her hand... her hips above his face now, moving... slightly, oh-so slightly... his face strains towards her. The scarf in her hand... she ties his hands with it gently to the brass bed, he kisses her hard nipple that's hovering over his mouth.

The song plays. He is inside her...his head arches back...She arches her back... her hips grind... her breasts are high...Her back arches...her head tilts back... she extends her arms back and reaches for the icepick under the bead spread... the right arm comes down suddenly...stabbing the side of his neck... He bucks, writhes, convulses...she continues stabbing his chest repeatedly, until he screams to his death.

**A BROWNSTONE IN PACIFIC HEIGHTS - (MORNING)**

* Winter in San Francisco cold, foggy. Cop cars everywhere. The lights play through the thick fog. Two Homicide detectives get out of the car, walk into the house. Jethro Gibbs is 42. Trim, very good-looking, a nice suit; handsome face. GUS MORAN is 64. Crew-cut, silver beard, a suit rumpled and shiny, a hat out of the 50's, face worn and ruined, has the face of a backwoods philosopher.

_**THE BROWNSTONE:**_

* There's money here - deco, clean, hip - That looks like a Picasso on the wall. They check it out.

**GUS:** "Who was this fuckin' guy?"

**JETHRO:** "Rock and roll, Gus. Johnny Boz."

**GUS:** "I never heard of him."

**JETHRO:** (grins) "Before your time. Mid-sixties. Five or six hits He's got a club down in the Fillmore now."

**GUS**: "Not now he don't."

They Past the uniformed guys, nods and waves, then past the forensic men... past the coroner's investigators... they get to the bedroom.

**_THE BEDROOM:_**

* They walk in, stare - it's messy. It's like a convention in here. LT. PHIL WALKER, in his 50's, silver-haired, the Homicide guys; JIM HARRIGAN, late 40's, puffy, affable; SAM ANDREWS, 30's, black. A CORONER'S MAN is working the bed.

**LT. WALKER:**(to Jethro and Gus) "You guys know Captain Talcott?" (They nod.)

**GUS:** "What's the Chief's office doin'here?"

**CAPT. TALCOTT:** "Observing."

**LT. WALKER:** (to the Coroner's Guy) "What do you think, Doc?"

**THE CORONER'S GUY:** "The skin blanches when I press it - this kind of color is about right for six or eight hours."

**LT. WALKER:** "Nobody say anything. The maid came in an hour ago and found him. She's not a live-in."

**GUS:** "Maybe the maid did it."

**LT. WALKER:** "She's 54 years old and weighs 240 pounds."

**THE CORONER'S GUY:** (deadpan) "There are no bruises on his body."

**GUS:**(grins) "It ain't the maid."

**LT. WALKER:** "He left the club with his girlfriend about midnight. That's the last time anybody saw him."

**JETHRO:**(looks at body)"What was it?"

**THE CORONER'S GUY:** "Ice pick. Left on the coffee table in the living room. Thin steel handle. Forensics took it downtown."

**HARRIGAN:** "There's come all over the sheets - he got off before he got offed."

**GUS:** (deadpan) "That rules the maid out for sure."

**CAPT. TALCOTT:** "This is sensitive. Mr. Boz was a major contributor to the mayor's campaign. He was Chairman of the Board of the Palace of Fine Arts" -

**GUS:**(to Jethro) "I thought you said he was a rock and roll star?"

**LT. WALKER:** "He was a retired rock and roll star."

**CAPT. TALCOTT: **"A civic-minded, very respectable rock and roll star."

**GUS:**"What's that over there?" (They see the white powder laid out in lines on the small mirror on the side table.)

**JETHRO:**(deadpan) "It looks like some civic-minded, very respectable cocaine to me, Gus."

**CAPT. TALCOTT:**(evenly, to Jethro)" Listen to me, Gibbs. I'm going to get a lot of heat on this. I don't want any... mistakes." (Jethro and Talcott look at each other a moment, then) -

**JETHRO:** "Who's the girlfriend?" (Lt. Walker looks at the notepad in his hand.)

**LT. WALKER:** "Jennifer Shepard, 162 Divisadero."

(Jethro writes it down. He and Gus turn, leave. Captain Talcott watches them. He looks disturbed.)

_**THE LIVING ROOM:**_

As they head out -

**JETHRO:** "Talcott doesn't usually show up at the office 'till after his 18 holes. What are they nervous about?"

**GUS:** "They're executives. They're nervous about everything."

**LT. WALKER:** "Jethro!" (He stops, turns, sees Walker behind them. Walker comes up to them.)

**LT. WALKER:** (to Jethro) "Keep your three o'clock."

**JETHRO:** "Do you want me to work the case, Phil, or do you want me to" -

**LT. WALKER:** "I said keep it.

_**A VICTORIAN ON DIVISADERO - (DAY)**_

* It is more a mansion than a house. They ring the bell. An Hispanic maid answers. They flash their badges.

**JETHRO:** "I'm Detective Gibbs, this is Detective Moran. We're with the San Francisco Police Department. We'd like to speak to Ms. Jennifer Shepard."

**THE MAID:** (after a moment, with an accent) "Just a moment. Come in." (She leads them into a lavish, beautifully done living room that offers a sweeping view of the Bay.)

**THE MAID:** "Sit, please. Just a moment."

(They look around, impressed. There is a Picasso on the wall here, too.)

**GUS:** "Ain't that cute? They got his and her Picassos."

**JETHRO: **(smiles)"I didn't know you knew who Picasso was, Gus."

**GUS:**(grins) "I'm a smart son of a bitch. I just hide it."

(Jethro smiles - and at that moment a beautiful blonde walks into the room. She looks like she has been asleep. She is in her early 20's. She wears a very sheer robe.)

**JETHRO:** "We're sorry to disturb you, we'd like to ask you some -

**THE WOMAN:** "Are you vice?"

**GUS:**(after a moment)"Homicide."

**THE WOMAN:** "What do you want?"

**GUS:** "When was the last time you saw John Boz?"

**THE WOMAN:** "Is he dead?"

**JETHRO:** (after a moment)"Why do you think he's dead?"

**THE WOMAN:** "You wouldn't be here otherwise, would you?"

**GUS:** "Were you with him last night?"

**THE WOMAN:** "You're looking for Jennifer, not me."

**JETHRO:** "Who are you?"

**THE WOMAN:** "I'm Roxy. I'm her - friend."

**ROXY:** "She's out at the beach house at Stinson. Seadrift. 1402."

**JETHRO:** "Thanks." (They start to head out.)

**ROXY:** "You're wasting your time. Jennifer didn't kill him."

(A moment, they look at her, and go)...

**SEADRIFT - STINSON BEACH - DAY**

* Foggy. Cold. It is an expensive spit of land on the ocean. Multi-million dollar "beach houses" with gardens and swimming pools. There are two Ferraris in the driveway - one black, one white. They get out of the car in front of the house. They see a woman in back of the house, sitting on a deck chair, staring at the sea, a blanket around her. As they get to her -

**JETHRO:** "Ms. Shepard?"(She takes a long look a Jethro, then looks away.)

* Jenny Shepard is 34 years old. She has long auburn hair and a refined, classically beautiful face. She is knockout gorgeous like Roxy; there is a smoky kind of sensuousness about her.

**JETHRO:** "I'm Det…"

**JENNIFER:**(evenly) "I know who you are." (She doesn't look at them. She looks at the water.)"How did he die?"

**GUS:** "He was murdered."

**JENNIFER:** "Really. Maybe that's why you're from Homicide. How?" (Jethro glances at Gus.)

**JETHRO:** "With an ice pick."

(She closes her eyes a moment and then, still staring out, we see a thin smile. They see it, too, and glance at each other.)

**JETHRO:** "How long were you dating him?"

**JENNIFER:** "I wasn't dating him. I was fucking him." (They glance at each other again.)

**GUS:** "What are you - a pro?" (Jennifer looks at him - that thin smile again.)

**JENNIFER:** "No. I'm an amateur." (She looks away.)

**JETHRO:** "How long were you having sex with him?"

**JENNIFER:** "About a year and a half."

**JETHRO:** "Were you with him last night?"

**JENNIFER:** "Yes."

**JETHRO:** "Did you leave the club with him?"

**JENNIFER:** "Yes."

**JETHRO:** "Did you go home with him?"

**JENNIFER:** "No. We had a drink at the club. We left together. I came here. He went home."

**JETHRO:** Was there anyone with you last night?"

**JENNIFER:** (looks at Jethro) "No. I wasn't in the mood to have sex with anyone last night." (They look at her a moment.)

**JETHRO:** "Let me ask you something, Ms. Shepard? Are you sorry he's dead?" (Jennifer looks at him.)

**JENNIFER:** "Yes. I liked fucking him." (They stare at her. She looks out at the water.) "I don't really feel like talking anymore."

**GUS:** "Listen, lady, we can do this downtown if you" -

**JENNIFER:** "Read me my rights and arrest me and I'll go downtown." (She doesn't even look at them.) "Otherwise, get the fuck out of here. Please." (A long moment as they look at her.)

**...**

_**TO BE CONTINUED...**_

_**I've tried to format this so it's easy on the eyes, and easy to follow along. What do ya think?! :)  
><strong>_

_**Reviews recommended! **_


	2. Chapter 2

**If you've seen the movie, this should be very familiar and easier to read…  
><strong>***Remember this is in the form of a movie script. (The original typed script, is pretty messy!)  
><strong>**I've done my best to structure it better (comparing it to the original) This is all written in chronological order.  
><strong>**Netflix has it available to stream, be my guest to watch it first. It is a good movie, in my opinion. :)**

**-Enjoy!**

_**POLICE HEADQUARTERS:**_

The door says Dr. Elizabeth Gardner, Counseling. Jethro opens the door, peeks in. The receptionist is not there…

_**THE COUNSELING OFFICE:**_

Jethro walks in - sees the inner door open, walks in.

**JETHRO:** "I'm sorry, Beth. I - I got hung up in Stinson."

(Dr. Elizabeth Gardner the police psychologist, is a very good looking, dark-haired woman. She is 30.)

**BETH: **(smiles) "How are you, Jethro?"

**JETHRO:** "I'm fine. Come on, Beth! You know I'm fine! How the hell long do I have to keep doing this?"

**BETH:** "As long as Internal Affairs wants you to, I suppose. Sit down, Jethro"

**JETHRO:** It's bullshit. You know it is."

**BETH:** (smiles) I know it is - but sit down anyway so we can get it over with, okay? (He sits down.) "So - how are things?"

**JETHRO:** (after a pause) "Things are fine. I told you. They're fine." (She watches him closely.)

**BETH:** "How is your - personal life?"

**JETHRO:** "My sex life is fine. My sex life is pretty shitty actually since I stopped seeing you - maybe I should think about my Electrolux again." (That embarrassed her; she looks away from him.)

**JETHRO:** (after a moment) "Sorry." (She shrugs.)

**BETH:** "How about the booze?"

**JETHRO:** "It's been three months."

**BETH:** (after a long moment) "How about the coke?"

**JETHRO:** "No."

**BETH:** "No?"

**JETHRO:** (hard) "No! I'm working my tail off. I'm off the sauce, I'm not even smoking anymore." (She smiles.)

**BETH**: "How's not smoking?"

**JETHRO:** "It's fucked - now will you please tell I.A. that I'm just you average healthy totally fucked-up cop and let me get out of here?

**BETH:** (after a pause; smiles) "Yes."

**JETHRO:** "Thank you." (And he starts heading out.)

**BETH:** (behind him) "I still miss you, Jethro." (He doesn't even turn, pretends he didn't hear.)

_**THE DETECTIVE BUREAU:**_

Jethro walks in. Gus Moran gets up from his desk as soon as he sees him.

**GUS:** "Talcott's in there. They're waiting." (They start heading for Lt. Walker's office.)

**GUS:** "How'd it go?"

**JETHRO:** "She misses me."

**GUS:**(grins) "Hallelujah."

_**LT. WALKER'S OFFICE:**_

Jethro and Gus sit there with Lt. Walker, Harrigan, Andrews and Captain Talcott…

**HARRIGAN:** "Sixteen stab wounds to the chest and neck. No usable prints, no forcible entry, nothing missing. No prints on the ice pick, either - it's available at any Safeway. The scarf is Hermes, expensive - they sell about 20,000 a year worldwide."

**ANDREWS:** "The powder was cocaine, high-quality, high-content. He inhaled it; there were minute quantities on his lips and penis. Mr. Boz leaves five million dollars, no insurance, no direct survivors. He liked his coke, he liked his girls, and he liked rock and roll.

**JETHRO:** "He liked the mayor, too, right?" (Talcott gives him a look.)

**GUS:** "What about his girlfriend?"

**TALCOTT:** "Is she relevant here? I didn't know she was a suspect?"

**LT. WALKER:** "She's a suspect."

**TALCOTT:** "On what basis?"

**LT. WALKER:** (looks at notes) Jennifer Shepard. Age 34. No priors, no convictions. Double major, magnum cum laude, Berkeley, 1980. Literature and Psychology. Daughter, sole survivor - Marvin and Elaine Shepard, killed in a boating accident, 1978, Jennifer Shepard sole heir. Estimated assets $110 million.

**JETHRO:** "Are you kidding me?"

**LT. WALKER:** (continues) "Formerly engaged to Roberto Vasquez, deceased" -

**ANDREWS:** "Bobby Vasquez?"

**LT. WALKER:** "Bobby Vasquez, former middleweight contender, killed in the ring Atlantic City, 1984."

**JETHRO:** (smiles) "I love it. She's got a hundred million bucks. She fucks fighters and rock and roll stars. And she's got a degree in screwing with peoples' heads."

**LT. WALKER:** "You forgot her degree in literature. She's a writer. She published a novel last year under a pen name. Do you want to know what it's about?" (They just stare at him.)

**LT. WALKER:** "It's about a retired rock and roll star who is murdered by his girlfriend."

_**JETHRO'S APARTMENT - (NIGHT):**_

His apartment is very bare - very few things - with wide open spaces. There is a lot of chrome. He sits on the couch, reading a book. It is a paperback. We see the title - Love Hurts, by Jennifer Adams. He puts the book down, then picks the phone up, and dials.

**JETHRO:** "Page 67, Do you know how she does the boyfriend? With an icepick, in bed, his hands tied with a white silk scarf."

_**A POLICE DEPARTMENT CONFERENCE ROOM - (DAY):**_

Jethro, Gus, Lt. Walker, Harrigan, Andrews, Captain Talcott - and Beth Gardner. With them is an older, white-haired man, Dr. Andrew Lamott There are copies of "Love Hurts" around the table.

**LT. WALKER:** "Dr. Gardner?"

**BETH:** "I've asked Dr. Lamott to consult with us. This isn't really my turf. Dr. Lamott teaches the psycho-pathology of psychopathic behavior at Stanford and is also a member of the Justice Department's Psychological Profile team. Dr. Lamott?

**DR. LAMOTT**: "There are two possibilities. One. The person who wrote this book is your murderer and acted out the killing described in ritualistic, literal detail. Two. Someone who wants to do the person who wrote this book harm read the book and enacted the killing described to incriminate the writer."

**JETHRO:** (after a long pause) "What if the writer did it? What are we dealing with?"

**DR. LAMOTT:** "You're dealing with a devious, diabolical mind. This book must have been written at least six months, maybe years before it was published. That means the writer planned the crime, at least in the subconscious, back then. The fact that the writer carried it out indicates psychopathic obsessive behavior in terms not only of the killing itself but in terms of applied advance defense mechanism."

**GUS:** "Most times I can't tell shit from shinola, Doc. What was all that

you just said?" (Some grins, titters.)

**BETH**: "She anticipates the book to be her best alibi."

**DR. LAMOTT**: "Correct."

**BETH**: "She's going to say 'Do you think I'd be dumb enough to kill anyone in the exact way I've described in my book? I wouldn't do that because I'd know I'd be a suspect?'" (they all think about it.)

**JETHRO:** "What if it's not the writer? What if it's someone who read the book?"

**DR. LAMOTT:** "You're dealing then with someone so obsessed that he or she is willing to kill an irrelevant and innocent victim to place the blame on the person who wrote this book. We are talking about deep-seated, obsessional hatred; an utter lack of sense of proportion or perspective."

**GUS:** "We've got a top-of-the-line, once- in-a-lifetime loony-tune either way you cut it - that's what you're saying, right, Doc?"

**DR. LAMOTT:** "You're dealing with someone very dangerous and very ill."

_**THE PROSECUTOR'S OFFICE - (DAY)**_

PROSECUTOR JOHN CORRIGAN, a big man in his 50's, with Captain Talcott, Lt. Walker, Jethro, and Gus. Corrigan is reading a file. He gets up, yawns, goes to his window, looks out…

**CORRIGAN:** "Come on, you know there's no case here. There's no physical evidence - okay, she doesn't have an alibi but there's no motive. Her defense would just beat us to death with the copycat thing. Anybody who read the book could have done it."

**JETHRO:** "So what do we do - nothing?"

**LT. WALKER: **(after a moment) "We bring her in for questioning."

**TALCOTT:** "She's got enough money to burn this whole department down."

**LT. WALKER:** "She was the last person seen with the guy - I'll take the responsibility."

**TALCOTT**: "It's yours."

**CORRIGAN: **"It won't do any good. She'll come in with Lee Bailey and Mel Belli trailing behind her on a solid gold chain from Tiffanys."

**TALCOTT**: "Yes she will."

**JETHRO:** "No she won't." (They look at him.)

**JETHRO:** (smiles) "I don't think she's going to hide behind anybody. I don't think she's going to hide at all."

**TALCOTT:** "I think you're as crazy as she probably is, Curran." (Jethro says nothing.)

**GUS:** "You know what they say: It takes one to know one." (Jethro looks a Gus, grins.)

_**JENNIFER'S HOUSE IN STINSON - (DAY)**_

They walk from the car to the door of the big beach house. They ring the bell. They hear typing inside. The typing stops. She comes to the door in jeans and a short sweatshirt that exposes her midriff.

**JETHRO:** "Ms. Shepard, we'd like you to come downtown and answer some questions for us."

**JENNIFER:** "Are you arresting me?"

**JETHRO:** "If that's the way you want to play it." (They look at each other.)

**JENNIFER:** (smiles) Can I change into something more appropriate? It'll just take a minute." (He nods.)

**JENNIFER:** "Come in."

_**IN THE HOUSE:**_

It is beautifully done in a Santa Fe motif. She goes to a bedroom off the living room. Jethro sits down on a couch facing the bedroom she's walked into. Gus sits across from him, his back to the bedroom. There is a coffee table between them. She leaves the bedroom door halfway open. An old newspaper is on the coffee table. Jethro reaches for it. The headline says: VICE COP CLEARED IN TOURIST SHOOTINGS. A headline underneath says: GRAND JURY SAYS SHOOTINGS ACCIDENTAL. There is a photograph of Jethro. He stares at the paper.

**JENNIFER:** "How long will this take?" (Jethro puts the paper down on the coffee table. He is lost in his thoughts. Gus picks the paper up.)

**JETHRO:** (looks up) "I don't know." (Jethro, facing the half open bedroom door, sees a mirror near the wall of the bedroom. The mirror reflects her in the other corner of the bedroom. She is taking her clothes off. He stares. She strips down naked. He sees her back. She has a beautiful body. She puts on a short, white, sleeveless, dress. She doesn't put any underwear on.)

**JETHRO:** "Do you always keep old newspapers around?"

**JENNIFER:** "Only when they make interesting reading." (and she is suddenly out of the bedroom. She stands there, smiles. They look at each other for a long moment.)

**JENNIFER:** (finally) "I'm ready." (They get up, head out.)

**GUS:** "You have the right to an attorney."

**JENNIFER:** "Why would I need an attorney?"

_**INSIDE THE CAR - (DAY):**_

They sit in the front; she is in the back. The car goes over the winding, two-lane Mt. Tamalpais road. We see the beach far below.

**JENNIFER: **(Puts her hand on Jethro's shoulder) "Do you have a cigarette?"

**JETHRO:** "I don't smoke."

**JENNIFER:** "Yes, you do."

**JETHRO:** "I quit." (She smiles, looks at him. He turns away. She lights a cigarette up.)

**JETHRO:** "I thought you were out of cigarettes?"

**JENNIFER:** "I found some in my purse; would you like one?" (He turns back to her.)

**JETHRO:** "I told you - I quit."

**JENNIFER:** "It won't last." (She stares at him, and then he turns away.)

**GUS:** "You workin' on another book?"

**JENNIFER:** "Yes I am."

**GUS:** "It must really be somehtin' -makin' stuff up all the time. (He watches her in the rearview mirror.)

**JENNIFER:** "It teaches you to lie."

**GUS:** "How's that?"

**JENNIFER:** "You make it up, but it has to be believable. They call it suspension of disbelief."

**GUS:** "I like that. "Suspension of Disbelief." (He smiles at her in the mirror.)

**JETHRO:** "What's your new book about?"

**JENNIFER:** "A detective. He falls for the wrong woman. (He turns back to her.)

**JETHRO:** "What happens to him? She looks right into his eye."

**JENNIFER:** "She kills him." (They look at each other, and then he turns away from her. Gus watcher her in the rearview mirror.)

_**TO BE CONTINUED…**_

***Coming up, is the famous interrogation/leg-crossing scene. If you've seen the movie, you know what I'm referring to. ;)**

**Reviews and comments recommended! :)**


	3. Chapter 3

**This is the next segment. It includes the famous leg crossing scene. **  
><strong>Enjoy and please let me know what you think? :)<strong>

_**A POLICE INTERROGATION ROOM - (DAY)**_

It is a large, fluorescent-lighted room. She walks in with Jethro and Gus. In the room are prosecutors John Corrigan, Lt. Walker, Captain Talcott, Harrigan, and Andrews. There is a police stenographer, a plain young woman in her 20's. As soon as she comes in -

**CORRIGAN:** "I'm John Corrigan. I'm an assistant district attorney, Ms. Shepard.

Can we get you anything? Would you like some coffee?"

**JENNIFER:** "No thank you."

**TALCOTT:** "Are your attorneys" -

**JETHRO:** (hiding a smile) "Ms. Shepard waived her right to an attorney." (Corrigan and Talcott glance at Jethro. She sees the look.)

**JENNIFER:** (smiles) "Did I miss something?"

**JETHRO:** "I told them you wouldn't want an attorney present."

**LT. WALKER:** "Why have you waived your right to an attorney, Ms. Shepard?"

**JENNIFER:** (to Jethro) "Why did you think I wouldn't want one?"

**JETHRO: "**I told them you wouldn't want to hide."

**JENNIFER:** "I have nothing to hide."

(The two of them keep their eyes on each other. She sits down. They sit around her. Jethro is sitting directly across from her. She lights up a cigarette. They watch her. She is poised, cool, in complete command of herself.)

**CORRIGAN:** "There is no smoking in this building, Ms. Shepard."

**JENNIFER:** "What are you going to do? Charge me with smoking?" (Ever so casually, she blows her smoke across at Jethro.)

_The questioning begins:_

**CORRIGAN:** "Would you tell us the nature of your relationship with Mr. Boz?"

**JENNIFER:** "I had sex with him for about a year and a half. I liked having

sex with him." (She has control of the room; she looks from one man to the

other as she speaks.)

**JENNIFER:** "He wasn't afraid of experimenting. I like men like that. I like men who give me pleasure. He gave me a lot of pleasure." (They watch her. She is so matter-of-fact.)

**CORRIGAN:** "Did you ever engage in sadomasochistic activity with him?"

**JENNIFER:** (smiles) "Exactly what do you have in mind, Mr. Corrigan?"

**CORRIGAN:** (after a beat, little flustered) "Did you ever tie him up?"

**JENNIFER:** "No."

**ANDREWS:** "You never tied him up?"

**JENNIFER:** "No. Johnny liked to use his hands too much. I like hands and fingers." (They stare intently at her.)

**LT. WALKER:** "You describe a white silk scarf in your book."

**JENNIFER:** "I've always had a fondness for white silk scarves. (she smiles) "I have a very vivid imagination."

**JETHRO:** "But you said you liked men to use their hands."

**JENNIFER:** "No. I said I liked Johnny to use his hands. (she smiles) I don't give any rules, Jethro. I go with the flow." (They have their eyes on each other.)

**CORRIGAN:** "Did you kill Mr. Boz, Ms. Shepard?"

**JENNIFER:** "I'd have to be pretty stupid to write a book about a killing and then kill him the way I described in my book. I'd be announcing myself as the killer. I'm not stupid." (She smiles.)

**TALCOTT:** "We know you're not stupid, Ms. Shepard."

**LT. WALKER:** "Maybe that's what you're counting on to get you off the hook."

**JETHRO:** "Writing a book about it gives you an alibi for not killing him."

**JENNIFER:** "Yes it does, doesn't it?" (She holds his eyes a second, then) - "The answer is no. I didn't kill him."

**GUS:** "Do you use drugs, Ms. Shepard?

**JENNIFER:** "Sometimes."

**HARRIGAN:** "Did you ever do drugs with Mr. Boz?"

**JENNIFER:** "Sure."

**GUS:** "What kind of drugs?"

**JENNIFER:** "Cocaine." (She looks directly at Jethro.) "Have you ever fucked on cocaine Jethro? (she smiles) It's nice." (She uncrosses her legs, deliberately revealing her bare pussy, then crosses her other leg over…they all watch her intensely.)

**JETHRO:** "You like playing games, don't you?"

**JENNIFER:** (smiles) "I've got a degree in psych. It goes with the turf. Games are fun." (They are holding each other's eyes.)

**JETHRO:** "How about boxing? That's a game. Was that fun for you?" (They don't take their eyes off each other for a second.)

**TALCOTT:** "I think that's irrelevant to this inquiry."

**JENNIFER:** (to Jethro) "Yes it was. Bobby died."

**JETHRO:** "How did you feel when he died?"

**JENNIFER:** "I loved him. I hurt." (Their eyes are still on each other.)

**JETHRO:** "How did you feel when I told you Johnny Boz had died - that day at the beach?"

**JENNIFER:** "I felt somebody had read my book and was playing a game.

**JETHRO:** "But you didn't hurt." -

**JENNIFER:** "No."

**JETHRO:** "Because you didn't love him." -

**JENNIFER:** "That's right." (Their eyes are digging into each other.)

**JETHRO:** "Even though you were fucking him."

**JENNIFER:** (after a moment) "You still get the pleasure. Didn't you ever fuck anybody else while you were married, Jethro?" (he stares at her, expressionless.)

**LT. WALKER:** "How did you know he was married?"

**JENNIFER:** (watching Jethro) "Maybe I was guessing. What difference does it make?" (She lights a cigarette. He stares at her.)

**JENNIFER:** "Would you like a cigarette, Jethro?" (He just stares at her, expressionless.)

**CORRIGAN:** "Do you two know each other?"

**JETHRO:** "No."

**JENNIFER:** "No."

**ANDREWS:** "How did you meet Mr. Boz?"

**JENNIFER:** "I wanted to write a book about the murder of a retired rock star. I went down to his club and picked him up. Then I had sex with him."

**LT. WALKER:** "You didn't feel anything for him. You just had sex with him for your book." (She looks at Jethro.)

**JENNIFER:** "In the beginning. Then I got to like what he did for me."

**GUS:** "That's pretty cold, ain't it, lady?"

**JENNIFER:** "I'm a writer, I use people for what I write. You write what you know. Let the world beware. (She and Jethro have their eyes on each other, then) -

**JENNIFER:** (to Corrigan, smiles) "Would you like me to take a lie detector test?"

_**THE POLICE BUILDING - (NIGHT)**_

We see her in a glass-enclosed cubicle with a polygraph examiner. Jethro stands outside watching her with Gus and Lt. Walker. Her back is to them. The Examiner shuts the machine down, gathers rolls of papers, and comes out of the cubicle.

**THE EXAMINER:** "No blips, no blood pressure variations, no pulse variance. Either she's telling the truth or I've never met anyone like her.

**LT. WALKER**: "Well, I guess that's it." (Jethro watches her as she sits inside.)

**JETHRO:** "How does somebody beat this machine?"

**THE EXAMINER:** "Ninety-nine point nine percent of the cases, they don't. You'd have to be able to mask the truth from your own central nervous system, your circulatory system, your adrenal glands. In my opinion, this woman is telling the truth."  
>(The Examiner walks away. They stand there. Jennifer stands at the door of the cubicle behind them) -<p>

**JENNIFER:** "Can I go now?"

**LT. WALKER:** (after a beat) "Yes. Thanks for coming in, Ms. Shepard. I'm sorry to inconvenience you. (She says nothing, has a thin smile.)

**JENNIFER:** "Can I ask one of you for a ride?" (They look at her a moment.)

**JETHRO:** "Sure."

**JENNIFER:** (smiles) "Thanks." (he and Jennifer walk away. Gus and Walker watch them.

_**IN HIS CAR - (NIGHT)**_

It is an old, mint-condition silver Porsche. It is pouring rain; the wind is blowing a San Francisco winter storm. Nothing is said a long beat as he drives. She yawns. Stretches. He ooks at her.

**JENNIFER:** (smiles) "I'm tired."

**JETHRO:** "It's got to be tiring to beat that machine. (She looks at him and looks away.)

**JENNIFER:** "If I were guilty, and if I wanted to beat that machine, it wouldn't be tired. It wouldn't be tiring at all.

**JETHRO:** "Why not?"

**JENNIFER:** "Because I'm a professional liar. I spend most of my waking hours dwelling on my lies. (a pause) For my writing." (He looks at her.)

**JENNIFER:** (smiles) I love the rain, don't you?" (He says nothing, doesn't look at her.) "You took a polygraph after you shot those two people, didn't you?" (He looks at her now.)

**JETHRO:** "I passed."

**JENNIFER:** "You see? We're both innocent, Jethro." (He pulls up in front of her house on Divisadero, stops. He sees the white Ferrari in the driveway.)

**JETHRO:** "How do you know all this stuff about me?"

**JENNIFER:** "You know all about me."

**JETHRO:** "I don't know anything that isn't police business."

**JENNIFER:** (after a pause) "You know I don't like to wear any underwear, don't you, Jethro? (They look at each other for a moment. She playfully smiles at him) "Thanks for the ride." (And she's out of the car. He watches her as she hurries in the rain - his eyes on her until the moment she opens the door and is inside.)

_**THE TEN-FOUR - (NIGHT)**_

It is a police bar, San Francisco style. Joe Montana and Will Clark posters. The jukebox has a lot of Tony Bennett. He walks in. He sees Lt. Walker at a back booth with Gus, goes to them, sits down.

**LT. WALKER:** "What is all this "Jethro" stuff —Jethro would you like a cigarette. Jethro can you give me a ride."

**JETHRO:** "She didn't ask me for the ride. She asked anybody.

**LT. WALKER:** "And you volunteered." (A bartender stays behind the bar, but yells to him.)

**THE BARTENDER:** Perrier, Jethro?

**JETHRO:** "Double Black Jack rocks, Harry."

**GUS:** (with concern) "What you doin'?"

**JETHRO:** "It's my first drink in three months. That okay with you? (to Lt. Walker) She doesn't know me. I never saw her before Gus and I talked to her.

**THE BARTENDER:** "Here you go, Jethro." (He gets up, gets his drink) -

**JETHRO:** "Thanks, Harry." (He sits back down. He takes a big swig. They watch him.)

**LT. WALKER:** "You sure?"

**JETHRO:** "I'm sure." (He takes another big swig.) "Now what?"

**LT. WALKER:** "What now what? Now nothing. She passed the polygraph. That's it."

**JETHRO:** "She knew she could beat it. That's why she asked to take it."

**LT. WALKER:** "How the fuck do you know? What is it with you and this broad anyway?"

**JETHRO:** "Come on, Phil. You're not gonna let this slide. What about her parents? What about what else she's published? At least we should get the stuff to see if we find anything else that's an amazing real-life coincidence.

**LT. WALKER:** "Her parents died in an accident. I don't care what else she's written. What are you - a book critic?"

**JETHRO:** "How did they die? Was there an investigation?"

**LT. WALKER:** "How you're saying she killed her parents? Did she kill Bobby Vasquez, too?"

**GUS:** "Not unless she got up in the ring and turned into one mean sonofabitch."

**LT. WALKER**: "Maybe she did, Gus. Maybe she grew herself an Afro and learned a left hook and put shoe polish on her face. Let's polygraph her again and ask her about it."

**JETHRO:** (casually) "Fuck you, Phil."

**LT. WALKER**: "Fuck you, too Jethro."

**JETHRO:** (calls to the Bartender) "Can you get me another double Black Jack, Harry?" (Gus looks at him with concern. A man in his 50's - LT. MARTIN NILSEN is suddenly there. He is overweight, florid.)

**NILSEN:** (to Jethro) "Hey, shooter - You back on the Black Jack, Shooter?" (He grins. Jethro doesn't look at him.)

**LT. WALKER:** "We're discussing a case, Marty."

**NILSEN**: "I know that. I had no doubt of that."

**THE BARTENDER:** "Here you go, Jethro." (Nilsen takes the drink, hands it to Jethro.)

**NILSEN:** (grins) "Double, huh, Shooter?" (Jethro turns to him. He's sitting in the booth; Nilsen is standing there. Jethro looks like he's barely restraining himself.

**JETHRO:** "I'm off-duty, Nilsen. You hear me? I'm off-duty discussing a case. Internal Affairs shouldn't have any trouble with that. Maybe I should put in for overtime.

**NILSEN:** (grins) "You do that, Shooter. Why don't you send it to me? I'll give it special attention. (A moment passes, and then Jethro gets up, faces him.)

**JETHRO:** " I'm gonna tell you once more, Nilsen" - (Lt. Walker and Gus get up and hold Jethro back. Beth Gardner, the police psychologist, is suddenly there.)

**BETH:** "What's the problem?"

**NILSEN** (grins) "No problem, Doctor. Here comes the Doctor just in time to save her patient. Take care, Shooter." (And he walks away. Jethro still looks like he wants to go after him. Beth pulls him away from the booth.)

**BETH:** "You okay?"

**JETHRO: **(after a beat) "Yeah."

**BETH:** (smiles) "You don't look so okay." (Jethro looks at her.)

**JETHRO:** (smiles) "What are you doing here?"

**BETH:**(smiles) "Baby-sitting." (she shrugs) "Rookie cop."

**JETHRO:** (smiles) "What else is new?" (He looks at her again.)

**JETHRO:** "You want to get out of here?" (She looks at him.)

**BETH:** (smiles) "Yes." (At the booth, Gus and Lt. Walker watch the two of them leave.)

**GUS:** "Maybe it's for old-time's sake."

**LT. WALKER:** (watches them go out) "Sometimes I think he started banging her just to get himself off the hook with Internal Affairs."

**GUS:** (after a beat, smiles) "He ain't that way. He's got heart."

**LT. WALKER:** (smiles) "Yeah. I know."

_**BETH'S APARTMENT - (NIGHT)**_

He is kissing her hard, and rough. He forces her against the wall, pinning her hands above her head. His hands roam over her breasts, as they kiss passionately with tongue. His mouth moves to her neck and sucks hard momentarily.

**BETH: **"Don't - please, Jethro" -

(He pauses, then suddenly rips open her blouse, revealing her lacy bra. He kisses her harder, she moan, his hands push her bra up off her breasts. His hands cup them and massage them as they continue to kiss hungrily. He suddenly pulls her off the wall and backs them up against the opposite wall. Her back is against his chest, his left arm is wrapped around her front squeezing her right breast. Her hands reach up behind her, and thread through his hair as they kiss some more. Without warning, he aggressively moves her into the living room and leans her over the arm of the couch, his body spooning behind her. His hand pulls her thong aside, then he swiftly pulls down his pants and underwear around his knees.)

**BETH:** "Please don't" - (He puts his mouth to her shoulder, bites it - as they move down to the floor.)

_**BETH'S LIVING ROOM - (LATER)**_

It is dark. The are still partially dressed. They are on the floor. His shirt and tie is still on. His underwear and pants are around ankles. He's on his back, staring at the ceiling. She laying next to him - the blouse wound around her. There is a visible bite mark on her shoulder.

**BETH:** "What was she like?"

**JETHRO:** "Who?"

**BETH**: "Jennifer Shepard."

**JETHRO:** (after a pause) "She said what you said she'd say."

(She sits up, looks away. He looks at her, puts his finger on the bite mark idly, gently. He kisses her shoulder gently, then lies back down.)

**BETH:** "I met her at Berkeley." (He looks at her.) "We were in some of the same classes."

**JETHRO:** (after a moment) "Why didn't you tell me?" (She looks at him.)

**BETH:** "I'm telling you." (They look at each other)

**BETH**: (with difficulty) "You've never been... like that... before. (He says nothing, looks away from her.)

**BETH:** "Why?" (He doesn't look at her, says nothing.)

**JETHRO:** "You're the shrink." (She keeps looking at him. He won't look at her.)

**BETH:** "You weren't making love to me." (He looks at her.)

**JETHRO:** "Who was I making love to?" She looks at him.

**BETH:** "You weren't making love." (They look at each other for a moment, then away. He lies back down. Beth doesn't look at him, keeps sitting up.)

**JETHRO:** (finally) "I need a cigarette."

**BETH:** (after a moment) "I thought you quit." (He says nothing.)

**BETH:** "Top drawer in the foyer. Get it on your way out!" (she yelled out before walking out and slamming the door. A heavy sigh escapes his mouth, he thrusts his hips up, pulling his underwear and pants back up, then stands up and tucks in his shirt.)

**TO BE CONTINUED…**

_**Reviews and comments recommended! :)  
><strong>__**More to come soon!**_


	4. Chapter 4

**CHAPTER 4:**

**THE DETECTIVE BUREAU - (MORNING)**

He walks in. He looks hung-over. He sees Gus with Harrigan and Andrews and Lt. Walker in Lt. Walker's glass-enclosed office at the end of this big room. They look at him when they see him.

**LT. WALKER: **"You look like dog shit."

**GUS:** (grins) "He looks a little shrunk, that's all."

**ANDREWS**: (after a moment) "We got a call from Berkeley P.D. There was a killing. A professor. Icepick. In his bed, multiple stab wounds. 1977."

**JETHRO:** (a thin smile) "She was there, wasn't she?"

**LT. WALKER: **"University records say she was there." (He and Jethro look at each other a long beat, then) -

**LT. WALKER: **(suddenly) "Gus go over to Berkeley. Harrigan - find out what else she's published. Andrews get the files on her parents' accident. Carbon Beth on everything. I want some psychological input on this. (Andrews and Harrigan go; Jethro is left there with Gus.)

**JETHRO:** "What about me?"

**GUS:** "You're already gettin' psychological input, son."

**LT. WALKER:** (to Jethro) "Go stick your head in a tub of ice water." (pauses, then seriously) "See where she leads."

**THE BEACH HOUSE AT STINSON - (DAY)**

The black Ferrari is in the driveway. He sits in an unmarked police car on a hillside above the house, watching. It is a bleak, leaden gray day. Jennifer comes out of the house. She is dressed casually. She gets into the Ferrari and pulls out of the long driveway.

**HIS POLICE CAR**

He stays behind her at a safe distance on the winding panoramic highway - a two-lane mountain road which leads from Stinson Beach into Marin County.

She suddenly starts speeding up on the dangerous road, cutting in and out, passing cars very fast. He starts cutting around cars to keep up. He cuts out and can barely pass a car without hitting a Grey Lines Tour Bus head-on. Close call: sheer drops on either side. He looks frazzled.

He's behind her at a distance on a hilly Mill Valley road - little streets, terraced hillsides, sharp turns. He goes slowly, looks around, thinks he's lost her. And then he sees the black Ferrari parked in front of a house obscured by hedges.

He parks the car a distance behind the Ferrari, sits there for a while. He gets out, goes carefully up to the hedges, looks. A small, nondescript house. He watches. He can't see anything inside the house. He reaches over to the mailbox and opens it. He takes an envelope out, looks at the name: Hazel Dobkins.

**HIS POLICE CAR - (NIGHT)**

He watches as she comes out of the house. A frail old woman in her 70's is with her. She hugs the old woman, gets into the Ferrari, starts it up. He waits a moment and then starts after her. He stays behind her at a distance - she is going slowly. And then she suddenly guns it, cuts her lights - her wheels screech. He guns his car after her. He makes a turn. She is gone. There's a fork in the road. He turns one way, goes a few hundred feet. Nothing. Blackness. He stops.

**JETHRO:** (quietly) "Shit."

He pulls his car up to her house at Stinson Beach. The black Ferrari is in the driveway. A light goes on in an upstairs bedroom. The curtain is drawn. He sees the outline of her body now. She starts to take her clothes off - there in the window, behind the curtain. Her breast and butt are visible. He watches her body as she does an almost languorous strip. His eyes are intense... ravishing. She walks out of the room and turns off the lights.

**THE DETECTIVE BUREAU - (NIGHT)**

He is alone, nobody else in the big room. He sits in front of a computer. We see the screen. He has typed in: HAZEL DOBKINS, WF, 145 ALBION RD., MILL VALLEY. He's waiting for a response. We see it come on screen: NOTHING CURRENT. A long moment, as he stares at the screen, and then we see these words:

RELEASED, SAN QUENTIN, JULY 7, 1965. We see him type in the words: PRIOR ARREST RECORD. A long pause, and then it comes up: HOMICIDE, JANUARY 10, 1956 - SAN FRANCISCO He stares at the screen a long moment.

**GUS**: (behind him) "Ain't you go nothin' better to do than to come in here and jack off the damn machine?"

**JETHRO:** (lost in his thoughts) "What are you doing here?"

**GUS**: (grins) I came in here to jack off the damn machine. One dead psychology professor. Noah Goldstein. Dr. Noah Goldstein. And guess what? He was her counselor. (Jethro looks at him a beat.)

**JETHRO:** "Was she ever suspect?"

**GUS**: "No, sir. They never even got a statement from her." (Jethro sits back a long beat, his eyes off somewhere.)

**JETHRO:** (slowly) "Do you remember a case - 1956 - Hazel Dobkins?"

**GUS**: (grins) "Hell yes! Couldn't get it outta my head for years. Still can't. Nice little kids - nice husband, wasn't porkin' around - no financial problems. One day - outta the clear blue sky - she does 'em. All of 'em. Used a knife. He got for a wedding present. Didn't even deny it. Sweet as honey. Said she didn't know why

she done it. (Jethro just stares at him.)

**THE STINSON BEACH HOUSE - (NEXT DAY)**

He pulls up to the house, gets out of his unmarked police car. He stands there a moment, thinking. He walks down to the beach entrance of the house. He hears a Rolling Stones song playing inside. He stands there. The door suddenly opens. Jennifer stands there, smiles. She's wearing a very short revealing dress with a cardigan.

**JENNIFER:** "Hi." (He looks at her, then) -

**JETHRO**: "Am I... disturbing you?"

**JENNIFER**: "No. Come in."

(They have their eyes on each other, she turns to go in. She goes in ahead of him - he follows her inside. He watches her body. His movements are tentative, off-balance. She turns the Stones down. On a table by the window, he sees a word processor. Spread around it are newspaper clippings. They are all about him. He sees the headline on one: KILLER COP TO FACE POLICE REVIEW. She sees him glancing at the clips.

**JENNIFER:** "I'm using you for my detective in my book. You don't mind, do you? (She smiles. He looks at her, expressionless.) "Would you like a drink? I was

just going to have one."

**JETHRO:** "No, thanks." (She goes to the bar.)

**JENNIFER:** (smiles) "That's right. You're off the Jack Daniels too, aren't you?"

(She is making herself a drink. She takes the ice out and then opens a drawer and gets an icepick. It has a fat wooden end. She uses the icepick on the ice, her back to him. He watches her.)

**JETHRO:** "I'd like to ask you a few more questions."

**JENNIFER:** "I'd like to ask you some, too." (She turns to him, icepick in hand, smiles.) "For my book." (She turns back to the ice, works on it with the pick. She raises her arm, jabs it. Raises it, jabs it. He watches her.)

**JETHRO:** (wary) "What kind of questions?" (She puts the icepick down, pours herself a drink, turns to him.)

**JENNIFER:** "How does it feel to kill someone?" (He looks at her for a long moment.)

**JETHRO:** (finally) "You tell me."

**JENNIFER:** "I don't know. But you do." (Their eyes are glued to each others.)

**JETHRO:** (finally) "It was an accident. They got in the line of fire."

**JENNIFER:** "Four shootings in five years. All accidents."

**JETHRO:** (after a long pause) "They were drug buys. I was a vice cop." (they continue to look at each other.) "Tell me about Professor Goldstein."

**JENNIFER:** "There's a name from the past."

**JETHRO:** "You want a name from the present? How about Hazel Dobkins?" (She looks at him, sips her drink, never takes her eyes off him.)

**JENNIFER:** Noah was my counselor in my freshman year. (she smiles) That's probably where I got the idea for the icepick. For my book. Funny how the subconscious works. (a pause) Hazel is my friend."

**JETHRO:** "She wiped out her whole family."

**JENNIFER:** "Yes. She's helped me understand homicidal impulse."

**JETHRO:** "Didn't you study it in school?"

**JENNIFER:** "Only in theory." (she smiles) "You know all about homicidal impulse, don't you, shooter? Not in theory - in practice." (He stares at her.)

**JENNIFER:** (quietly, walking towards him) "What happened, Jethro? Did you get sucked into it? Did you like it too much?"

**JETHRO:** "I don't know what you're talking about." (He stares at her, almost horrified.)

**JENNIFER:** (quietly, closing in on him) "Tell me about the coke, Jethro. The day you shot those two tourists -how much coke did you do? Hmm. Come on. You can tell me." (She steps closer to him. Her face inches away from his.) "Tell me, Jethro" (She whispers, her lips millimeters from his.)

**JETHRO: **(his eyes focused on her lips) "I didn't."

**JENNIFER:** "Yes, you did. They never tested you, did they? But Internal Affairs knew. (They are face to face. Her nose brushes against his lip.)

**JENNIFER:** "Your wife knew, didn't she? She knew what was going on." (Her hand slips up his chest. He twists her arm back behind her - their bodies are pressed against each other - their eyes digging into each other.)

**JENNIFER:** (continuing in a seductive whisper) Jethro got too close to the flame. I think you liked it. That's why she killed herself? (He's twisting her arm, staring at her, pulling her against him. They hear the door behind them. A moment goes by, he lets her go, turns away from her. Roxy stands there, staring at them. Her hair is up. She wearind a black motorcycle jacket, a black T-shirt, and black jeans and cowboy boots.

**JENNIFER:** (brightly) "Hiya, hon. You two have met, haven't you?" (Roxy looks at Jethro. Jennifer goes to her, kisses her on the lips, stands there with her arm around her -both of them looking at Jethro. He walks by them, opens the door to go.

**JENNIFER:** "You're going to make a terrific character, Jethro." (He doesn't look at her; he's gone. Jennifer looks at Roxy and they make out.)

**BETH GARDNER'S OFFICE - (DAY)**

Jethro comes in. He looks like he's going to kill someone. A receptionist sits there…

**RECEPTIONIST:** "She's on the phone - she'll be right with you, detective - He sweeps by her into Beth's inner office. She hangs up when she sees the look on his face.

**JETHRO:** "Who has access to my file?!"

**BETH**: "What are you talking about, Jethro -what's wrong with you?"

**JETHRO:** (screams out) "Who's got access to my goddamn file?!" (She gets up - he goes closer to her; she backs away from him.)

**BETH:** "Nobody." (He goes closer to her; she backs away.)

**BETH:** It's a confidential psychiatric record, it'd be illegal -She backs into a wall. She looks very scared. He comes very close to her - puts an arm behind her to the wall.

**JETHRO:** "Don't, Beth. Don't fucking lie to me!" (She says nothing, looks scared.)

**JETHRO:** (suddenly) "It's Internal Affairs, isn't it?"

**BETH**: "No, Jethro, please -

**JETHRO:** (loud, hard) "Who?!"

**BETH**: (blurts it) "Nilsen."

**THE INTERNAL AFFAIRS DIVISION - (DAY)**

He storms into the big room. He sees Marty Nilsen. He is sitting behind his desk in his glass-enclosed office inside this big room. About a dozen plainclothes policemen are in the big room. He goes by them into Nilsen's office.

**MARTIN NILSEN'S OFFICE**

He closes the door. Nilsen sees the look on his face, backs his chair away towards the wall…

**NILSEN:** "What do you want, Gibbs?" (He goes to him, picks him up by his lapels, slams him against the wall.)

**JETHRO:** (out of control) "You sold her the file, didn't you?!"

**NILSEN:** (scared) "What are you talking about?"

**JETHRO:** (out of control) "What'd she pay you?" (He slams him against the wall again. Jethro is frozen, holding Nilsen by the throat against the wall.)

**ONE OF THE I.A. GUYS:** "Let him go, Gibbs. Nice and easy." (He looks back, sees two Internal Affairs men with their guns drawn, pointed at him. He lets Nilsen go. He turns calmly and starts to walk out.)

**NILSEN:** "You fucked yourself, Shooter. You hear me? You are out! You are out!"

**THE POLICE PARKING LOT - (DUSK)**

He gets into his old Porsche. He starts the car up. Gus Moran comes up to the window…

**GUS:** "What's goin' down?"

**JETHRO:** "Nothin. I'll be okay." (They look at each other a long moment.)

**GUS:** "No, sir. You won't. There's smoke off yonder on the horizon. They're gonna want your badge."

**JETHRO:** (almost to himself) "She knows where I live and breathe. She's coming after me."

**GUS:** (after a long beat) "What is it you got between you?"

**JETHRO:** (after a moment; to himself) "I don't know."

**GUS:** "Somethin', though." (pauses, then Jethro looks at him.)

**JETHRO:** "Yeah." (pauses) Something."

_**TO BE CONTINUED…**_

_**More to come! Hope you enjoy it so far. **__**Reviews Recommended! :)**_


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